van Nuyssen (ca. 1567/1576 - 1632) was a Flemish Baroque painter. He was born at Antwerp, in a year variously reported between 1567 and 1576. He studied under Jan Snellinck, was a master in 1602, and in 1607 was dean of the master-painters. He died in the city of his birth. Till the appearance of Rubens he was considered perhaps the best historical painter of his time. The styles of the two artists are not unalike. In correctness of drawing Janssens excelled his great contemporary; in bold composition and in treatment of the nude he equalled him; but in faculty of color and in general freedom of disposition and touch he fell far short. A master of chiaroscuro, he gratified his taste for strong contrasts of light and shade in his torchlights and similar effects. Good examples of this master are to be seen in the Antwerp museum and the Vienna gallery. The stories of his jealousy of Rubens and of his dissolute life are quite unfounded. His students include Gerard Seghers and Theodoor Rombouts.   Related Paintings of Abraham Janssens :. | The Lamentation of Christ | The Lamentation of Christ . | Ecce Homo | Das Gesicht | Das Gesicht |
Related Artists:
Floris Arntzenius
(9 June 1864 - 16 February 1925) was a Dutch painter, water-colourist, illustrator and printmaker. He is considered a representative of the younger generation of the Hague School. Arntzenius was born in Surabaya on the island of Java where his father served in the Royal Dutch East Indies Army. In 1875, at the age of 11, he was sent to the Netherlands to Amsterdam to live with his aunt and uncle in order to complete his education. In 1882 he became a student of Frederik Nachtweh, under Nachtweh's supervision he gained admission to the Rijksacademie van Beeldende Kunsten. During his time at the Rijksacademie, from 1883 to 1888, his teachers included August Allebe and Barend Wijnveld, and amongst his fellow students were Isaac Israëls, George Breitner, Willem Witsen and Jan Veth. After his studies in Amsterdam he spent another two years at the Koninklijke Academie voor Schone Kunsten in Antwerp, studying under Charles Verlat. Back in Amsterdam, Arntzenuis became a member of the artist's societies Arte et Amicitiae (1890) and St. Lucas (1891), and he had a studio at the Sarphatistraat. In 1892 his mother became widowed and moved to The Hague and Arntzenuis also moved there to keep her company. Around the same time his former fellow students Isaac Israëls and George Breitner left The Hague for Amsterdam to be a part of the capital's more vibrant artistic climate. At The Hague the established painters of the first generation of the Hague School dominated artistic life. Spuistraat, 1919, Haags Historisch MuseumArntzenius became a member of the artist's society Pulchri Studio in The Hague in 1892. From 1893 to 1895 he shared Bernard Blommers' former studio with Cornelis Antonie van Waning. He also contributed illustrations to Elsevier Geïllustreerd Maandschrift from 1892 to 1894. In 1896 he was admitted to the Hollandsche Teeken Maatschappij, a society that promoted the medium of watercolours among its members. He got married in 1900, to Lide Doorman, a talented painter of floral still lives, who lived in the house opposite of Arntzenius' mother, together they had four daughters, who he frequently painted.
KONINCK, Philips
Dutch Baroque Era Painter, 1619-1688 was a Dutch landscape painter.Little is known of his history except that he was said to be a pupil of Rembrandt, whose influence is to be seen in much of his work. He painted chiefly broad, sunny landscapes, full of space, light and atmosphere; they are seen from a high perspective, allowing a prominent view of the sky. Portraits by him, somewhat in the manner of Rembrandt, also exist (e.g. see Joost van den Vondel); there are examples of these in the galleries at Copenhagen and Oslo. Of his landscapes, the principal are View at the mouth of a river at the Hague, with a slightly larger replica in the National Gallery, London; Woodland border and countryside (with figures by Adriaen van de Velde) at Amsterdam; and landscapes in Brussels, Florence (the Uffizi), Berlin and Cologne. Koninck, a prosperous businessman, appears to have painted few pictures during the last decade of his life. Several of his works have been falsely attributed to Rembrandt and many more to his namesake and fellow townsman Salomon de Koninck (1609-1656), also a disciple of Rembrandt, whose paintings and etchings consist mainly of portraits and biblical scenes. Both of these painters are to be distinguished from David Koninck (1636-1687),
BERCKHEYDE, Gerrit Adriaensz.
Dutch Baroque Era Painter, 1638-1698 Brother of Job Berckheyde. Gerrit specialized in a particular type of architectural subject, the TOWNSCAPE. His painted work shows a debt not only to Pieter Saenredam's conception of the building portrait but also to Saenredam's refined draughtsmanship and dispassionate attitude; these qualities mark Berckheyde as a classicist and akin to Vermeer. Berckheyde favoured views of monuments on large open squares, a choice that distinguishes him from the other great Dutch townscape painter, Jan van der Heyden, who preferred views along canals in which clarity was sacrificed for pictorial effect.